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ON FREE PUBLIC VIEW 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


BEGINNING SATURDAY, APRIL Ist 
AND CONTINUING UNTIL THE DATE OF SALE 


Poe COLLECTION OF 


THE WELL-KNOWN CONNOISSEUR 


DR. JOHN C. FERGUSON 


COUNSELLOR OF THE DEPARTMENT OF STATE, PEKIN 


Ae 


UNRESTRICTED PUBLIC SALE 
AT THE AMERICAN ART GALLERIES 


ON FRIDAY AFTERNOON, APRIL 7, 1916 
BEGINNING AT 2.30 O’CLOCK 


ILLUSTRATED CATALOGUE 


OF 


ANTIQUE CHINESE BRONZES 
PORCELAINS, POTTERY 
TOMB JADES 
eae AND 
RARE OLD CHINESE PAINTINGS 


BELONGING TO THE WELL-KNOWN CONNOISSEUR 


DR. JOHN C. FERGUSON 


COUNSELLOR OF THE DEPARTMENT OF STATE, PEKIN 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH 


ON THE AFTERNOON HEREIN STATED 


CATALOGUE WRITTEN BY DR. JOHN C. FERGUSON 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
AND HIS ASSISTANT, MR. OTTO BERNET, OF THE 
AMERICAN ART ASSOCIATION, Manacers 


NEW YORK 
1916 


Ja Ted 


-—- THE AMERICAN ART ASSOCL 
: DESIGNS ITS CATALOGUES AND 
| ALL DETAILS OF ILLUSTRA 

TEXT AND TYPOGRAPHY 


P Pres 
ve’ ’ 


PREFACE 


During a continuous residence in China of more than twenty- 
five years, a study of the expression of the inner thoughts 
of the Chinese people as revealed in their government and 
in their art products has deeply interested me. Starting 
with observation and study of porcelains and coins, I con- 
tinued my investigation through other fields into the more 
difficult one of paintings and bronzes. Im all branches of 
art, the continuity of artistic motive is strikingly appar- 
ent. Porcelains are the best example of this principle. 
Nearly all of the important shapes are copied from earlier 
bronze vessels and the decorative designs are reproductions 
from earlier paintings. ‘The underlying unity of literary 
and artistic product is also apparent in the constant re- 
production of historical subjects and in the use of written 
characters as an essential part of decoration. It thus hap- 
pens that the earliest art objects have both an esthetic and 
an archeological interest, and that these two characteristics 
cannot be separated from each other. 

_ The point of view from which I have formed my collec- 
tion of Chinese art objects combines literary and archeo- 
logical interest with wsthetic excellence. I have sought to 
judge Chinese objects by Chinese artistic standards and not 
solely by the promptings of a European esthetic taste. This 
has led me to acquire in bronzes all shapes produced in an- 
cient times, and to place just value upon the artistic beauty 
of the inscriptions of these bronze vessels. Only by such a 
method could I hope to appreciate Chinese art objects by 
the standards of the people who produced them, and to as- 


sign to different objects their correct relative importance. 


The continuity of artistic motive passes down through 
the periods of bronzes, jades, paintings, pottery, porcelain 
and enamel. In these various classes the attempt at artistic 
expression may be seen to have been founded upon similar 
conceptions and emotions. 'The Chinese daily life and na- 
tional organization center around ceremonial observance, 
and this fact is reflected in their art products. It serves 
to differentiate the point of view necessary to an intelli- 
gent appreciation of Chinese objects from that in which 
art is judged only by its capacity to afford personal pleas- 
ure. 

The specimens which I have gathered are now being 
sold on account of my return to China. I cannot claim 
that all of them are the best of their class, but all have 
been chosen with great care and with an attempt to judge 
them by correct standards of Chinese art. The period to 
which each specimen is assigned has been determined with 
knowledge gained from Chinese authoritative books and 


from association with noted Chinese collectors. 
Joun C. Frercuson. 
Newton, Mass., November, 1915. 


CONDITIONS OF SALE 


1. Any bid which is merely a nominal or fractional advance 
may be rejected by the auctioneer, if, in his judgment, such bid 
would be likely to affect the sale injuriously. 

2. The highest bidder shall be the buyer, and if any dis- 
pute arise between two or more bidders, the auctioneer shall either 
decide the same or put up for re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the pur- 
chase money as may be required, and the names and addresses 
of the purchasers shall be given immediately on the sale of every 
lot, in default of which the lot so purchased shall be immediately 
put up again and re-sold. 

Payment of that part of the purchase money not made at 
the time of sale shall be made within ten days thereafter, in 
default of which the undersigned may either continue to hold the 
lots at the risk of the purchaser and take such action as may be 
necessary for the enforcement of the sale, or may at public or 
private sale, and without other than this notice, re-sell the lots 
for the benefit of such purchaser, and the deficiency (if any) 
arising from such re-sale-shall be a charge against such purchaser. 

4. Delivery of any purchase will be made only upon pay- 
ment of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 
9 A. M. and 1 P. M., and on other days—except holidays—between 
the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American 
Art_ Galleries, or other place of sale, as the case may be, and 
only on presenting the bill of purchase. 

Delivery may be made, at the discretion of the Association, 
of any purchase during the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business 
in which the Association is in no wise engaged, and will not be 
performed by the Association for purchasers. The Association 
will, however, afford to purchasers every facility for employing 
at current and reasonable rates carriers and packers; doing so, 
however, without any assumption of responsibility on its part 
for the acts and charges of the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the 
purchaser. Title passes upon the fall of the auctioneer’s hammer, 
and thereafter, while the Association will exercise due caution in 
caring for and delivering such purchase, it will not hold itself 
responsible if such purchase be lost, stolen, damaged or destroyed. 


Storage charges will be made upon all purchases not removed 
within ten days from the date of the sale thereof. 


7%. Guarantee is not made either by the owner or the Asso- 


ciation of the correctness of the description, genuineness or 
authenticity of any lot, and no sale will be set aside on account 
of any incorrectness, error of cataloguing, or any imperfection 
not noted. Every lot is on public exhibition one or more days 
prior to its sale, after which it is sold “as is” and without recourse. 

-The Association exercises great care to catalogue every lot 
correctly, and will give consideration to the opinion of any trust- 
worthy expert to the effect that any lot has been incorrectly 
catalogued, and, in its judgment, may either sell the lot as cata- 
logued or make mention of the opinion of such expert, who thereby 
would become responsible for such damage as might result were 
his opinion without proper foundation. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


LIST OF CHINESE DYNASTIES 


HSIA DYNASTY 
SHANG DYNASTY 
CHOU DYNASTY 
TS’IN DYNASTY 
HAN DYNASTY 
THREE KINGDOMS 
TSIN DYNASTY 
SIX KINGDOMS 
T’ANG DYNASTY 
FIVE DYNASTIES 
LIAO DYNASTY 
KIN DYNASTY | 


SUNG DYNASTY 


YUAN DYNASTY (Mongol) 


MING DYNASTY 


CH’ING DYNASTY (Manchu) 


2205—1766 B.C. 
1766—1122 B.C. 
1129" = oR eB 
255— 206 B.C. 
B.C. 206— 221 A.D. 
221— 265 A.D. 
265— 420 A.D. 
420— 618 A.D. 
618— 907 A.D. 
907— 960 A.D. 

(  907—1168 A.D. 
1115—1260 A.D. 
960—1280 A.D. 
1280—1368 A.D. 


1868—1644 A.D. 


1644—1911 A.D. 


AFTERNOON SALE 


FRIDAY, APRIL 7, 1916 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


IVORY CARVINGS 


1—TIwo Ivory Carvinecs 


26“ One a netsuke, the other pheenix and blossoming tree. 
Tinted. 


2—Ivory Box 
foe Round box with oval flattened top; the cover with 
etched decoration of figures on a terrace beneath a 
pine tree. 
Diameter, 3 inches. 
3—Ivory Box 
vA ;* Carved in the style of the conventional chrysanthe- 
mum. Yellowish tone. 
Height, 2%, inches. 
4—Two Antique Ivory STATUETTES 
Chinese. Two Worthies in flowing robes. 
ea Height, 434 inches. 
5—Turee Antiaue Carvep Ivory STaruEttTes 
Chinese. Chang Kuo with bamboo tubes and rods, and 


L io 6’ two others. 
Height, 5 inches 


6—Carvep Ivory Mrxiarure Gourp 
A specimen of Chinese intricate carving. Chain and 
gourd carved out of one piece. Fret and other designs. 
wi — Height, 31, inches. 


Y“—ANTIQUE Carvep Ivory BrusH HoLper 


[ y« Chinese. Semi-relief carving of figures, rocks and pine 


trees. 
Height, 31% inches. 


8—Carvep Ivory Tray 
In the form of a lotus leaf with gold fish, crab and 


Ge shells in relief. Tinted. 
Length, 71, inches. 


9—Carvep Ivory Brusyu Rest 
Carved and undercut. Dignitaries and attendants be- 
pen neath ancient pine trees. Rocks and mountains in the 


background. Carved teakwood stand. 
Length, 51%, inches. 


10—Carvep Ivory OrnaMENT 

Chinese. Consisting of sphere within a sphere. Elabo- 
rately pierced with diaper patterns. The canopy with 
a seated figure. 


oe 


Length, 13 inches. 


11—Four Ivory Sratrvuerres 
Chinese. Lacquered, painted and tinted. Four 
_., “Jolly Boys.” Teakwood stand. 
(28 ih Height, 41% inches; width, 61, inches. 
12—AnTIQUE CarvED Ivory Brush HoLpEer 

Chinese. A section of a tusk, with figures, trees, 


, _,, flowers and mythical animal in low relief. 
/s a Height, 6 inches. 


13—AntTiIauE Carvep Ivory Screen 

Chinese. The obverse with a Taoist landscape show- 
ing figures of the immortals, bridge, “Isle of the 
Blessed,” pavilions and “Hills of Longevity” in the 
distance. Reverse with poem and seal. ‘Teakwood 
stand. 


la) 


Ad 


Height on stand, 11 inches; width, 51% inches. 


14—AnrTievE Carvep Ivory Screen 


Chinese. Obverse with low relief carving of immortals, 

oy ' Taoist landscape with figures, ancient pine trees, 
storks and “Hills of Longevity” in the distance. Re- 
verse with poem and seal. Teakwood stand. 


Height on stand, 11 inches; width, 51/, inches. 


15—AnTieuE Carvep Ivory STATUETTE 
Chinese. One of the Yii Sien or race of immortals. 


aye ; . Height, 10 inches. 


16—AnTiavuE Carved Ivory STATUETTE 


_, Chinese. Lan Ts’ai-Ho, with a pomegranate in her 
+S" ~ left hand and a basket of pomegranates in her right. 
Height, 101% inches. 


JADE 


Jade has been classed as a precious stone in China from the ear- 
liest times of which we have any record. In the classical Book of 
Poetry—Shih Ching—a beautiful woman is spoken of as a lady of 
jade. It has not yet been determined how ancient are the earliest 
specimens which are now in the hands of collectors, but without doubt 
some of them belong to the Chow Dynasty (B.C. 1122-255). It is 
probable that further investigation of ancient inscriptions and records 
will show that some specimens now known will be classified as belong- 
ing to the Hsia (B.C. 2205-1766) or Shang (B.C. 1766-1122) Dynasty. 
These jade objects were used in ceremonial presentations at court, 
as tokens for entry to the palace and other official residences, and 
for sending trusted messengers. Some objects were also used in tribal 
and family religious rites. 

The natural beauty of the colors of jade specimens has been added 
to by -atmospheric changes, or more often by changes produced by 
chemical action of the soil in which they have been buried. Disks, 
knives, spearheads, arrow-points, were among the earliest forms. Later 
they were decorated and used as ornaments for the tables of writers 
and artists. 


17—Two Jape Daccer Penpanrs—Kance Mao (Han 
Dynasty) 
J’ One with white and yellow colorations. The other with 
whitish coloration. 


18—THREE ORNAMENTS or JApE (Han Dynasty) 


5 Oa Ma 


One, a jade dagger pendant, Kang Mao, with yellow- 
ish coloration. Another, a jade girdle pendant, Pei, 
flat bell-shaped with basketry decoration, of green jade 
much discolored. The third, a jade button, Ch’i, with 
dragon decoration on face, and with conventional 
thunder scroll on reverse. Very rare. 


19—Turee Jape Ornaments (Han Dynasty) 


One, a jade dagger pendant, Kang Mao, with whitish 


coloration. Another, an ornament for mouth of scab- 


c 5 « bard, Péng, with white and red spots, decorated with 


a hydra over a thunder-scroll diaper. The third, a 
bit of a bridle, Léh, of green jade with yellow colora- 
tion. 


20—Two Jape Ornaments: Per (Han Dynasty) 


a 


One a girdle pendant, green with yellow coloration, 
with decoration of dragon. Han jade with later deco- 
ration. The other, hydra head pendant, of green jade 
with earth spots. 


21—Jape GirpLE Cxiasp and ORNAMENTS: Sul (Han 


/ 
— 


Dynasty) 


The girdle clasp white, decorated with conventional 
pattern of clouds and thunder. Han jade with Ch’ien 
Lung decoration. The other, a tiger, Hu, of green 
jade with purplish coloration. 7 


22—JapE GirDLE Ciase anp Ornament (Han Dynasty) 


ence 


The girdle clasp, Sui, white with earth spots, decorated 
with nipple pattern. Han jade with Ch’ien Lung deco- 
ration. ‘The other, a sparrow, Chiu, of drab jade. 


23—Javre Sear: Yin (Han Dynasty) 


Coiled hydra on back and handle. Green jade, with 


black discolorations. 
LL ee Diameter, 134 inches. 


24—Jane Girpte Pennant: Hv Pri (Han Dynasty) 


With two small holes in both upper corners and an- 
f] 4s other larger eye in center, two coiled hydras, with 
~~ white and black discolorations. Han jade with Sung 


decorations. 
Length, 21%, inches. 


25—Two Gray anp Brown Jape OrnaMENTS 
One, a jade stone, Shuan Shih (Sung or T’ang Dynas- 
yé ty), covered with a huge mushroom, decorated with 
hydra; the head is covered by the spreading tail of 
a falcon. The other, a white girdle pendant fragment, 
Pei (Han Dynasty). 


26—Two Jape Ornaments: Per (Han Dynasty) 
One, a headpiece of girdle pendant, decorated with 
id 
g — thunder pattern, perforated at both ends for sus- 
pending ornaments. Han jade with Ch’ien Lung dec- 
oration. The other, a girdle pendant, dragon shaped 
with Ch’ien Lung carving. 


27—Javr Prt (Han Dynasty) 
_ Russet-colored, decorated with two dragons on one 
Jie side, and on the other one dragon above conventional 


clouds. 
Length, 414, inches. 


28—Japr Per (Han Dynasty) 
Two tigers with intertwining tails, russet-colored with 
JL creamy white spots. Han jade with Ch’ien Lung 


carving. 
Length, 71/, inches. 


29—Japre Heap Ornament: Kuan (Han Dynasty) 


Used by early Emperors. White with brown colora- 
/o-«%_ tions. A very rare specimen. Carved stand. 


Height, 1144 inches; width, 21%, inches. 


30—Jave CuisEL: Wer or Kuer (Chow Dynasty) 


Green and brown with three eyelets. 
Jovk Length, 434 inches. 


31—JaprE GirpLE PENDANT: PEI. 


White with yellow and black discolorations. Crouch- 

ing tiger on an oval Kiieh, symbol of parting and 

/S So "——~death and eventual reunion, worn by women and buried 
with them. Teakwood stand. 

Length, 3°, inches. 


32—JaprE RecumBent Horse: Ma. 
Green jade, with yellow coloration. Sung decoration. 
ie a Length, 3 inches. 


33—Jape Man, Barparian: Man-Jen (Han Dynasty) 
White jade with inky black spots. Han jade with 
o ost ; 


Sung carving. 
Height, 334 inches. 


34—JapeE Ornament: San Yane (Chien Lung) 
Pale green jade, two recumbent goats with a kid be- 


gv 
/ eas between them. Teakwood stand. 
Length, 4 inches. 


385—Two Jave Tuses: Tsune (Han Dynasty) 


at One with yellowish colorations. The other of coarse 
; 
/ jade with white and earth colorations. 


Respective diameters, 17% inches and 3%, inches. 


>! 


36—Two Jape Tunes: T'sune (Han Dynasty) 
Greenish white jade with yellowish brown colorations 


ea ce. : : 
el Diameters, 214, inches. 


_ 87—Jave Tune: Tsune (Han Dynasty) 


/ ~ Resembling a large bracelet with brown coloration. 
ve 


—_— Diameter, 2%, inches. 


388—Javr Tuse anv Disk (Han Dynasty) 


A large disk, Pi, green with yellow and purple spots. 
/ oe: _ The tube, Tsung, with yellowish coloration. 


~~ Respective diameters, 24%, and 3 inches. 


39—Coarsrt JAvE Tune: Tsune (Han Dynasty) 
% ye With white and purplish colorations. 


Diameter, 414 inches. 


40—Jape Tune: Tsune (Han Dynasty) 
l ,« With brown and yellow coloration. 


Diameter, 314 inches. 


4{—Jape Tune: Tsune (Han Dynasty) 
Ae With green, purple and brown colorations. 


Diameter, 2%, inches. 


42—Coarse Jape Tune: Tsune (Han Dynasty) 
With green, purple and earth colorations. 
AL Diameter, 214%. inches. 
43—Javr Disx: Pi (Han Dynasty) 
y ¢¢ With purple and brownish spots. (Chipped.) Teak- 


wood stand. 
Diameter, 41/, inches. 


‘2 44—Japve Tune: Tsune (Han Dynasty) 
) , With yellow and brown colorations. 


— 


Diameter, 2 inches. 


45—Larce Jape Disk: Pr (Han Dynasty) 


Green jade with yellow, purple and brown spots, the 
oS edge irregular. Teakwood stand. 


Diameter, 514, inches. 


46—Javrt Tune: Tsune (Han Dynasty) 
Light and dark colorations. 


Diameter, 234 inches. 
ees 
47—JavE Tune: Tsune (Han Dynasty) 


Green with earth coloration. Commonly called axle- 


Ss nave. 


Height, 5%, inches; diameter, 214 inches. 


48—JapvrE Disx: Pi (Han Dynasty) 
With green and dark brown spots. Teakwood stand. 


Cee Diameter, 51/, inches. 


49—JapE DousLE FLower Houper: Hua Cua 


Hexagonal shape, joined by the body of a quadruped 
yc at the top and by that of a tiger at the bottom. The 
two heads are seen at the front and the two bodies at 
the back. In the mouth of the quadruped is a ring, 
from which hang two streamers. Each holder is deco- 
rated with conventional cloud and thunder patterns. 


Height, 334 inches. 


50—Japr Tune: Tsune (Han Dynasty) 
/ ) ; With yellow and earth colorations. 


Height, 41, inches; diameter, 3 inches. 


51—Two Jape Tasrets: Kuer (Chen Kuet) 
3 ie One, small with gray and brown spots. The other 


large, with brownish coloration. 


Respective lengths, 8 inches and 9% inches. 


52—JapE Pircner: Hua Cuia (Han Dynasty) 


Variegated colors, chiefly of greenish tints. A hydra 
peers over the back edge of the pitcher. Its upper 
left foot rests on the breast of a falcon, which has 
buried its bill in the shoulder of the beast. A wide 
band of conventional cloud scroll surrounds the body 
of the pitcher and narrow scrolls on rim and base. 


Han decoration. Teakwood stand. 
Height, 41%, inches. 


538—JaveE: Prrcuer: Hua Cua (Ch’ien Lung) 


One tiger of hydra form looks over the edge of the 
rim, watching another tiger which is just lifting its 
head to the edge. A third tiger is disporting itself 
on the other side of the pitcher; two front feet and the 
curving tail forming the base. The fangs of the 
monster make the decoration of the body of the vase 
with two rows of conventional cloud and thunder 


seroll. Teakwood stand. 
Height, 514, inches. 


54—Japve Bow: Hs1 (Han Dynasty) 

Ovoid shape, white, with a large russet spot on the 

side which is carved as the head of a hydra. <A pair 
Ve = of hydras carved on either side of the bowl, and a 

fifth is climbing toward the edge. The lines of the 

decoration are very bold. A conventional scroll band 

surrounds the outer rim, and another the base. Han 

jade with Sung decoration. Teakwood stand. 


Height, 234 inches; length, 7% inches. 


55—Jave Tasier: Kuer (Han Dynasty) 


White jade much discolored, used in worship of the 

SF, ,- Stars, and especially for the North Star. The trian- 
gular top represents the male principle of nature and 
the square bottom, the female. The decoration is con- 
ventional thunder pattern above and waves below. 
Teakwood stand. 


Height, 101%, inches; width, 21% inches. 


56—Larce Jape Disk: Pr (Han Dynasty) 
Green with whitish spots. 
a4 de Diameter, 7 inches. 


Deen eel 


; 
j 


sa 


> 


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57—Jave Tuse: Tsune (Han Dynasty) 
Commonly called axle-nave, used in the worship of 


: _ the earth; green and yellowish brown. 
20 —— Height, 6% inches. 


58—J ADE Disk: Pi (Han Dynasty) 
; With greenish spots. 
Diameter, 534 inches. 


sy 
pe 


59—Two Jape Disks: Hyan (Han Dynasty) 


With yellow and green colorations. 
Diameters, 41/, inches. 


(oO = 


60—JapE Tasuet: KveEr 
With two eyelets. Green jade with yellow spots. 
y , ie Length, 834 inches; width, 8%, inches. 


61—Japr Prenpant: Lune 


Green jade with earth spots. Dragon-shaped with fish 
FU ‘~ tail. Han jade with Han decoration. 


Diameter, 614 inches. 


62—JapE TasLet: KuEt—caLLep CHEN Kuri (Chow Dy- 
nasty ) 


‘4 J ‘—Green jade with yellow spots, symbol of power. 


Length, 934 inches; width, 4 inches. 


63—Two Larce Jape Disks: Pr (Han Dynasty) 


One, green jade with white and yellow colorations. 
The other green jade with brown and purple colora- 
tions. 


Basra 


Respective diameters, 91%, inches. 


64—JapE Disk: Pi (Han Dynasty) 
Green with spots of white. 
/s Diameter, 634 inches. 


65—Japr CuHIsEL AND Writing IMPLEMENT 


The former, Kuei, drab jade with one eyelet and linear 
Jo () ‘coloration. The other green jade, Hu, for writing; 
used by Emperor of Chow Dynasty. 


Respective lengths, 12%, inches and 1034 inches. 


a I Fe 


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ca 


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Sprit 


i art He ~ - “<. 


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66—F iat Jape Brevi: Pien Cuune (Han Dynasty) 


/50 = 


Upper and lower bands decorated with monsters’ heads 
(t’ao t’ich). Both sides of the bell have similar deco- 
rations. The handle is perforated so that the bell may 
be suspended. On either side of the handle is the head 
of a tiger. Ch’ien Lung decoration of Han jade. 


Carved teakwood stand and support. 
Height, 81/, inches. 


67—Larce JavE Disk: Pi 


Richly carved, perhaps used in astronomical calcula- 
JST ‘+ tions. Early jade with early carving. ‘Teakwood 


stand. 
Diameter, 834 inches. 


68—Larce Jape Disk: Pi (Han Dynasty) 
,, Green with kingfisher blue and green spots. 
ais ee Diameter, 91/4, inches. 


PORCELAIN 


69—Lanopscare Prare (Ch’ien Lung) 


The scene is the shore of the West Lake, Hang Chow, 
famous in Chinese history and folklore. Landscape 
painting is one of the great divisions of Chinese pic- 
torial art. It is known to have existed in China as 
early as the fourth century. The style of painting 
on this small plate is that of Chao Ch’ien-li, and was 
copied by the distinguished artist, Wang Hui, who 
lived at the same time this plate was produced. Seal 
mark of the period. 


Diameter, 4 inches. 


70—Rooster Cur (Ch’ien Lung) 


sy 


A rare specimen, highly prized in China. The decora- 
tion is a rooster being fed out of hand, and standing 
near an artificial rock from which grow peonies. On 
the obverse side of the cup is an autograph poem writ- 
ten by the Emperor Ch’ien-lung. Seal mark of the 
period. 


Height, 21, inches. 


71—Smatu Square Vase (Yung-cheng) 
An unusual specimen of glaze made to resemble the 
color and appearance of wood varnish. This var- 
nish, which was formerly unknown as an article of 
(doe export from China, is now shipped abroad in large 
quantities and is used in making fine varnishes. ‘This 
vase is an example of the attempts made by Yung- 
cheng potters to produce curious effects with glaze. 
Height, 4 inches. 


72—One Pair or Five-cotorep Curs (Ch’ien Lung) 


With decoration of fish and water plants in colored 


enamels. 


Pas Diameter, 31%, inches. 


/ eX 


73—Iron-rust SmMaLL Gaxtiupor (Chien Lung) 
“The iron-rust is a dark, lustrous brown glaze, strewn 
with metallic specks, due to excess of iron, and in the 
pe best examples clouded with passages of deep red.”— 


Hopson. . 
Height, 334 inches. 


74—Onr Pair or Biur anv Wuire Borrie-sHapep VAsEs 

( Yung-cheng) 
/ ( ,. This pair of vases reproduce the pale blue of the 
~~ Ch’eng Hua period. The decoration is of peonies in a 
panel cut off by a formal scroll pattern. The potters 
of the Yung-cheng period were most successful in their 
imitation of the blue and whites of the Ming Dynasty. 
Height, 4 inches. 


75—FLoweErED Bow.: Fen-ts’ar (Ch’ien Lung) 


/ Brillant white biscuit, decorated with floral branches 
Gis and fungus sprays. On the inside two bats in coral 
red. 


Diameter, 41%, inches. 


76—MeEpaAiLion Bown (Ch’ien Lung) 


/)'- 


Ci ie 


ust 


~—— 


Brilliant imperial yellow ground with rich decoration 
of chrysanthemum branches and flowers, in which are 
four circular medallions in white reserve. Decorated 
with chrysanthemum, prunus blossoms, iris, lotus and 
tree peonies in brilliantly enameled colors. Interior 
with five bats in coral red. Seal mark of the period. 


Diameter, 41/, inches. 


Mityie-Fieurs Bown (Ch’ien Lung) 


Thick clusters of flowers in famille rose enamels placed 
so closely together that the whole surface is covered. 
It resembles a large bouquet made up of all varieties 
of flowers, and yet in the confusion each flower is 
painted so as to be easily recognized. (Shghtly im- 
perfect.) Seal mark of the period. 


Diameter, 4 inches. 


78—Tra-pust Borrie-sHarep Vase (Chien Lung) 


ae 


ida 


“The tea-dust glaze has a scum of dull tea-green 
specks over an ochreous brown or bronze green glaze, 
applied either to the biscuit or over an ordinary white- 
glazed porcelain. It seems to have been a specialty 
of the Ch’ien-lung period, though there are known 
specimens with the Yung-cheng mark.”—Horson. The 
tea-dust is a second glaze applied by blowing or fleck- 


ing it over a first glaze. 
Height, 5 inches. 


SappuirE Buur Borrie-sHapep Vase (Yung-cheng) 
The vase is known by the Chinese as pao shih lan, 
“precious stone blue.” It is in the list of the new 
glazes used during the reign of the Emperor Yung- 
cheng. It has a faint crackle, and according to Hob- 
son “is apparently a glaze of the demi grand feu.” 


(Repaired at the lip.) 
TTeight, 5%, inches. 


80—PracHBLoom Wrirer’s Water Hover (K’ang-hsi) 
Hi _ Semi-globular, with broad bottom, perfect in surface. 
o/ ( — Fine, hard biscuit, covered with a very brilliant peach- 
bloom glaze. In color it comprehends several tones of 
this highly prized glaze. Mark in brilliant blue under 

the white glaze of the foot. 


Diameter, 41% inches. 


81—Peracock GREEN Smatyt Vase (Chien Lung) 


Ovoid with spreading lip. Stone ware with thick glaze. 
wa _— Height, 51, inches. 


82 


Smati Jar with Hanpues (Ch’ien Lung) 


A small, beautiful example of pale pea-green (tou 
ch’ing) celadon. The perfection of the glaze reminds 
IS —~ one of the beauty of the earlier specimens of this ware 
in the Sung Dynasty. The graceful handles are in 


the form of elephant heads. 
Height, 41/, inches. 


83—Sorr Paste Brive anv Wuire Gatiupor (Chien 
Lung) 
A good example of steatitic, or soft paste ware in 
SS “blue and white of the Ch’ien Lung period. The grace- 
ful shape combined with a beautiful floral decoration 
in deep coloring produces a beautiful specimen. 
Height, 434 inches. 


84—Decoraten Bown (Ch’ien Lung) 


Imperial yellow glaze with lotus, peony and other 
flowers and sprays in brilliantly colored enamels. The 
interior with five bats in coral red. Seal mark of 


the period.» (Very slight chip.) 


2p he Sats 


Diameter, 6 inches. 


85—Pair or Biur anp Wuite HawruHorn Gincer Jars 
(K’ang-hsi) 

This is an excellent pair of blue and white oviform 

Jog e_ ginger jars. The decoration consists of plum blos- 

soms in white over a blue ground of brilliant and trans- 

~ Jucent quality. The pulsating color is broken up by 

dark lines painted under the blue, causing the surface 

to suggest the appearance of cracked ice. The plum 

blossoms flourish at the time of the new year in China, 

and is the appropriate decoration of these jars, which 

were used for the purpose of sending condiments to 

friends during the holiday season. ‘Teakwood covers. 


Height, 5%, inches. 


ae hg: es bat (ere 
ie. 


86—Parr or Decoratep Watt Vases (Chien Lung) 


The rectangular body is wider at the top than at the 
bottom. A floral design encloses a panel, decorated 
with chrysanthemums. The graceful neck has a floral 
design, in the center of which is the character “Shou,” 
and on both sides of the neck are handles. Imperial 
ware. ‘These vases are intended to be hung on a wall 


as a receptacle for flowers. 
Height, 81% inches. 


“ 


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No, 89 


No. 88 


No. 87 


87—FicurEe or Kuayn-yin (Chien Lung) 


Seated figure of the Goddess on a lotus throne. Drap- 
eries, headdress, face, arms and ates brilliantly en- 


e 4 ‘— ameled and gilded. 
(Illustrated) 


Height, 51% inches. 


88—Ficure or Cuou Ts’ane (Chien Lung) 


Brilliant enameled coloring. This is a statuette of 
Chou Ts’ang, the faithful attendant of Kuan Yi, the 


of 


G0 ~~ famous warrior, at the close of the Han Dynasty. 
The long, flowing beard adds to the dignity of the 
figure. ’ 


Height, 81%, inches. 
(Illustrated) 


89—Ficurre or Kuan P’tne (Chien Lung) 
Brilliant enameled coloring. Kuan P’ing, the son of 
Kuan Yu, is always associated with Chou Ts’ang as 
5 4 ¢*— one of the squires of the famous warrior, Kuan Yi. 
He is gentle of demeanor and youthful in appearance. 
Height, 8 inches. 
(Illustrated) 


90—Seavare Jar (Yung-cheng) 
Celadon glaze with crackle simulating broken ice. The 
Lo decoration is the pa kua, or eight trigrams formed by 
the permutations of broken and unbroken lines. The 
short neck corresponds with the base. Seal mark of 


the period. 
Height, 10 inches. 


91—Decoratep Prate (Kang-hsi) 
White ground with a decoration of flowering chrysan- 
[6 — themums, grasses, rocks, insects and birds in various 
brilliantly colored enamels. Teakwood stand. 


Diameter, 1034 inches. 


| 
. 


92—UnievE Imperiat Vase (Ch’ien Lung) 


‘goes 


Bottle-shaped, with the body gracefully drawn into a 
short, slender neck, which recurves into a spreading 
lip, and two handles attached to the center of the 
neck, the latter decorated with lotus scrolls in mot- 
tled blue. The upper part of the body is movable. 
It has a yellow ground, and is decorated with flower 
scrolls and three protruding rams’ heads. The in- 
terior of the neck is covered with a delicate green 
glaze. A unique specimen of the potter’s art. Slight- 
ly damaged at the lip and repaired. 

Height, 11 inches. 


93—Rooster on a Rock (K’ang-hsi) 


A white rooster standing upon a dark-colored rock. 


“— The modeling is an excellent example of the best work 


of Chinese ceramic art. The head is crested with red, 
the eyes, beak and tail show clear contours. The 
feathers are engraved in outline and the whole ap- 


pearance is full of life. (Beak chipped. ) 
Height, 16 inches. 


94—Vase: Lanc-yao (K’ang-hsi) 


fig 


An unusually fine example of rich sang-de-beuf glaze, 
which covers the entire vase with a wealth of ox-blood 
red, deep in tone, darkening toward the base. The 
rim and interior of the neck, as well as the bottom of 
the vase, have a cream-white glaze crackled in pale 
brown. On one side of the body is a splash of bril- 
liant cream-white glaze. From the collection of a 


Manchu Prince. 
Height, 1614 inches. 


95—F LamBE Jar (Yung-cheng) 
A beautiful specimen of slaty-purple color, which has 
ee been produced by the misfiring of a monochrome in 
059 ~~ the grand feu. This capricious coloring is the result 
of chance action of the fire upon the copper-oxide in 


the glaze. 
Height, 814, inches. 


96—Buack Borrie-sHarep Vase (K’ang-hst) 
Unusually graceful shape. Globular, with broad base 
and long neck; black ground. Decorated in green 
poniete. and yellow with flying phcenix surrounded with fledg- 
lings and floating clouds, fashioned like the buds of 
flowers. This vase has been broken, but all the pieces 
have been preserved and the vase has been mended in 
its original shape and covered with modern glaze, 
through which the original enamel can be clearly 


seen. 
Height, 18 inches. 


97—LarcE Puate: Lune Cu’uan (Kang-hsi) — 


A good specimen of celadon, with an underglaze deco- 
ration of peonies—the fu-luei flower. It is a beauti- 
Leg ful pale olive or sea-green color, which has been made 
by the transparency of the biscuit through the thin 
glaze. Such ware as this has been frequently ascribed 
to the Wan-li period of the Ming Dynasty, but there 
is little doubt now that it belongs correctly to the 


reign of the Emperor K’ang-hsi. 
Diameter, 171% inches. 


98—Larce Puate: Lune: Cu’van (K’ang-hst) 
A good specimen of celadon, similar to the preceding q 
Be cae but without decoration. | 


Diameter, 18 inches. 


ENAMEL 


Canton enamels are known by the Chinese as foreign porcelains— 
Yang-tzu. Many specimens were painted after models brought from 
Western countries by early traders and missionaries. This industry 

was also fostered by the Emperors K’ang-hsi, Yung-cheng and Ch’ien- 

lung in the Imperial factories in Peking, where they had the assist- 
ance of Joseph Castiglione, an Italian priest, who trained the two 
brothers Chang. Many pieces produced for the palace were small, 
but of delicate, refined workmanship. Those produced in Canton 
were larger and more highly decorated. 


99—Canton Enamen Rectancutar Tasuet (Chien 
Lung) 


x ~. Western design of peonies and kingfisher in brilliantly 


enameled colorings. 
Height, 717, inches; width, 5 inches. 


100—Canton Enamet-Recranevrar Taster (Chen 
Lung) 
Western design of a lady seated before a loom. Nude 
oe children, vases and curtain in brilliantly enameled col- 
orings. 
Height, 5 inches; width, 71 inches. 


101—Canton Enamet Recraneutar Taser 
Framed and decorated with three figures beneath a 
[250 pine tree in brilliantly enameled colorings, showing 


Western influence. 
Height, 7 inches; width, 4 inches. 


102—Cantron Enamet Savcer-sHapepD PuiatTe (Yung- 
cheng) 

/5 — Center decoration of peonies and two pheasants on 
a rock, the border with a diaper pattern and three 
panels in white reserve, decorated with flowers and 
insects, all in brilliant enamel coloring. 


Diameter, 12 inches. 


POTTERY 


1083—Two Fracments or Coun Ware (Sung Dynasty) 
7 0* Celadon glaze with splashes of red. | 


104—Ytan Dynasty Bown 


ex: Small, with inner and outer surface glazed. Foot un- 
Ree glazed. 


Diameter, 314 inches. 


105—Smatt Bow1 (Yuan Dynasty) 
eae Heavy sky blue glaze. 


Diameter, 31/4, inches. 


106—Suattow Bown (Yuan Dynasty) 


Sky blue glaze with purple spots. (Repaired with a 


ye piece of the same material.) 
Diameter, 414 inches. 


107—Incense Burner (Sung Dynasty) 


i Oy A small tripod of the Lung Ch’uan ware—celadon. 
57 — The thick crackled glaze has a very rich effect. 
Height, 21%, inches. 


108—Smatit Tine Yao Prats (Sung Dynasty) 


pee Tete unusually fine specimen of Northern Ting ware, 
/ 0‘ the biscuit very white. The shape is that of the Lai- 


tang flower. 
Diameter, 334 inches. 


109—Srat Cortor Box: NorrHern Tine Yao (Sung Dy- 
nasty ) ; 


,. this small box has a beautiful flower pattern incised 
JU on its body and cover. It was used to contain ver- 
milion coloring mixed with oil and absorbed in silk 
waste. Seals made of jade and other stones or metal 
ware were impressed upon the mass before being used 

upon paper or silk. 
Diameter, 21, inches. 


110—Six Smarty Prares (Yuan Dynasty) 


i Various gradations of celadon. 
oO 


Averace diameter, 41/, inches. 


— 111—Smatt Bown (Yuan Dynasty) 
Crackled like Ko ware. An unusually fine sky-blue 
(<_ glaze. 
Diameter, 414 inches. 


112—Fracment or a Pirate (Yuan Dynasty) 


This is part of a larger plate, broken and ground 
G ‘— down to this size. Fine coloring; rimmed with metal. 


Diameter, 534 inches. 


1138—Incense Burner (Yuan Dynasty) 


A tripod of shapely form, with characteristic spots of 
[ore reddish, purple and light blue. 
ae Height, 234 inches. 


114—Smartt Bowt (Yuan Dynasty) 
Thick gray blue glaze, with an unglazed spot in the 
2 Ls? 


— center. 
Diameter, 41/4 inches. 


115—Tine Yao Prate (Sung Dynasty) 
An example of Southern Ting ware, made while the 
yom kee reigning house of Sung was located at Hang-chow. 
The biscuit and glaze are somewhat different from 
those of the Northern Ting. ‘This plate has “trick- 


ling tears” on the under side. 
Diameter, 61/, inches. 


116—-Derr Puare, Tine Yao (Sung Dynasty) 
A plate with floral design and crackled glaze. The 
(oe brownish shade is due to over-firing, leaving a few 
creamy patches to show the usual color of this Tu 


Ting ware. 
Diameter, 61/, inches. 


117—Coarst Tine Yao Prate (Sung Dynasty) 


A flower and leaf are incised within a circular band. 
/2%:_ This is an example of Southern Ting ware. 


Diameter, 6°, inches. 


118—-Tren Tu Tine Smart Pirates (Sung Dynasty) 


A collection of plates of similar size and pattern made 
,. in yellow-white Ting porcelain. Such a collection can 
? ~~ only be secured by years of careful selection. Tall 


carved teakwood stands. 
Diameter, 434 inches. 


119—Two Puates (Sung Dynasty) 


One is of Chun ware with a beautiful crackle and 

eee spots of red resembling the celebrated Ko ware. The 
whole surface of the plate has a pinkish appearance. 
The other is a specimen of brilhantly glazed Kuan 
ware which was among the most highly prized prod- 
ucts of the Sung period. 


Diameters, 714 inches. 


120—Pair or SuHattow Purates (Ming Dynasty) 


lu G+ Decoration similar to early Ru yao. 


Diameter, 714, inches. 


121—Two Bowts (Yuan Dynasty) 
GO" Thick celadon glaze. 


ame 


Diameters, 534 inches. 


122—Burack Trea Bow.: Tine (Sung Dynasty) 
The biscuit from which this bowl is made has a clear, 
musical ring. The bowl is shallow and broad, the 
i v" body flaring immediately from a low foot. It is coated 
with a glaze of rich black, interspersed with brownish 
tints. The glaze is made very thick so as to retain 
the best flavor of tea. The brownish-black lines are 
said to resemble the fur marks of a hare. 


Diameter, 7 inches. 


125—Pair or Bowrs: Lune Cu’van (Yuan Dynasty) 


Both inside and out the glaze has taken on strange 
,- coloring. The tapering shape of the bowls is unusual. 


“LS 


_. . Diameter, 6 inches. 


ca 3 


124—Puate (Sung. Dynasty) 
Plate of Tu Ting ware, with floral decoration. Rimmed 
/Q2-Sse with copper. 


Diameter, 8 inches. 


125—Puate (Sung Dynasty) 
Tu Ting ware, with floral decoration. The crackle 


; and darkish spots of this plate make it a rare speci- 


| — men. Rimmed with copper. 
— Diameter, 8 inches. 


126—Purate (Sung Dynasty) 

A very fine specimen of white Northern Ting ware. It 
; 27 ‘has a dragon incised in the center and the design is 
boldly drawn. On the back are seen “trickling tears” 
which are as highly prized by Chinese collectors as 
the colored spots in the Chiin ware. Rimmed with 


q copper. 


z Diameter, 8 inches. 


°127—Bowtr: Norruern Tine Yao (Sung Dynasty) 


This bowl has a pattern of two fish incised on the in- 
ve ee side. On the outside are darkish lines, which resem- 
ble trickling tears, or tear drops. This character- 
istic is highly prized by Chinese collectors. Rimmed 
with copper. 


Diameter, 8 inches. 


128—Suattow Cuuan Prate (Yuan Dynasty) 
Thick glaze. A good example of Lung Ch’uan ware. 


Diameter, 74%, inches. 


129—Bow.: Nortruern Tine Yao (Sung Dynasty) 


A beautiful pattern of flowers is incised on the inside 
of this bowl. On the outside may be seen the lines of 
eae trickling tears. Rimmed with metal. 


Diameter, 814 inches. 


180—Jar: Lune Cu’uan (Yuan Dynasty) 
With thick crackled glaze. Pale green, with two 


handles 
4, . 
oe. Height, 5 inches. 


131—Whirte Jar (Sung Dynasty) 
This is probably a specimen of Kuang tung ware al- 
eer though there are some qualities which would seem to 
YS ~~ indicate that it was produced in some other place. 
The mouth of the jar is shaped like the bulb of a 


chrysanthemum. 
Height, 31%, inches. 


182—Bowt with Friarine Sives (Yuan Dynasty) 
Coated with a thick celadon glaze. 
3 Fag va Diameter, 714 inches. 


1383—GtosuLar Jar (Sung Dynasty) 
Flattened, ribbed body with short neck and five gro- 
q Jj < tesque head feet. Gray clay, coated with olive green 


glaze. 
Height, 51% inches. 


134—Trivop Incense Burner (Yuan Dynasty) 
Coated with a coarse glaze. Two side handles, and 


/ ) as floral decoration in relief. 
Height, 61/, inches. 


1385—Urn: Lune Cu’uan (Sung Dynasty) 
This celadon glaze is very beautiful, having a soft, 
Asse +- smooth, translucent texture and quiet tints. The 
color of this urn, which has two small handles, is the 
dull green of melon rind. Celadon ware has always 
been highly prized by the Chinese and Japanese as 


the perfection of refinement in coloring. 


Height, 51% inches. 


ai a a Ral a el a i | 


Bo 


1386—Smati-mMoutTHED WinE Jar (Yuan Dynasty) 


A splendid specimen. The attractive coloring of the 

upper part of the jar is surpassed by the variegated 

colors near the foot where the glaze congealed. 
Height, 10 inches. 


1387—Recraneurar Firower Disu: Kuan Yao (Ming Dy- 


. a 


nasty ) 
Gray glaze with brown-flecked rim about lower part. 
The foot pierced in two places and unglazed, as is 


the interior. 
Length, 1014, inches; width, 314%, inches. 


138—GuoxsuLar Bown (Yuan Dynasty) 


Shapely in form, delicate in color, and with thick, bril- 


/ ) ) esliant glaze. | 
Height, 6 inches. 


139—BotTLe-sHAPED VASE (Ming Dynasty) 


With two handles, flattened spherical body, tubular 
neck and spreading lip. Coated with cream-white 
rt elaZze. 


oe Height, 81, inches. 


140—BortrTiEe-sHareD Vase (Ming Dynasty) 


Pear-shaped body with lobed mouth and a tiger and 


©: "/&_dragon modeled in low relief about the neck. Coated 


with cream-white glaze over which is a brown crackle. 
Height, 131% inches. 


141—Vase: Tu Tine (Sung Dynasty) 


The thick, creamy glaze of the Ting ware was fre- 
quently compared by the Chinese to congealed fat, 

Ys “ or mutton fat. The decoration of peonies incised in 
the biscuit displays the strength and originality of 

Sung Dynasty workmanship. 


Height, 15%, inches. 


142—Jar: Tu Tine (Yuan Dynasty) 
Thick glaze, which has been broken away near the 
/ y gu base, exposing the biscuit. 


148—Pitiow: Tine Yao (Sung Dynasty) 
The fine molding of this pillow is displayed not only 
7420 — in its perfect shape, but in the tiger-head at the end. 
Such pillows were said to be “efficacious in keeping the 
eyes clear and preserving the sestlo so that in old age 


fine writing can be read.” 
Length, 111% inches; height, 6 inches. 


144—Mortvuary VESSEL 
Well with bucket. Red clay, partially coated with a 


<2 green glaze and gray incrustations. 


Height, 7 inches. 


145—Cooxtne RANGE 


eae Reddish clay, coated with a green glaze. 


Length, 8 inches; width, 7 inches. 


146—Trirvop IncEensE BurNER witH CovER 


Olive-green glaze. Cover with low relief decoration 
of mythical lions, dragons and pheasants. 


xo ¢ 


Height, 71/, inches; diameter, 8 inches. 


147—Cooxine RANGE 


Slate-colored clay, the top with various symbols in 
“1 relief. 
Length, 10 inches; width, 8 inches. 


148—Cyurmpricat Jar 
With tripod support. Cover with relief ornamenta- 
ee tion of mountain design. About the body, low relief 
ornamentation of tigers and phenix, rudimentary ring 
handles. Olive-green glaze. (Repaired.) 


Height, 6 inches; diameter, 8 inches. 


149—Bouovpuistic Imace 
_,, Stone figure with glazed back on which is the incised 
/ 5 — date, third year of Wu Ting. This image was made 
for the Pao Teh Temple. A rare object, as it was 


most unusual to put glaze on stone. 
. Height, 7, inches. 


150—Fvuxien Soapstone [mace 
Standing Buddha on carved lotus throne. Background 


be 2 — of lotus, scroll and fire emblems in low relief. 


Height, 81/, inches. 


151—Fvuxten Soapstone Imace, GILDED 


ee Buddhistic figure standing on lotus throne, lotus back- 


ground in low relief. Tinted red. 
Height, 834 inches. 


FRAMED FRAGMENTS OF CHUN WARE 


152—Vase-sHarpeD FracMentT oF Coun Ware (Sung Dy- 
nasty ) 
Lustrous blue glaze, with splash of red and purple. 
/2_ Carved frame of teakwood. 
Height, 10 inches; width, 61%, inches. 


158—Fan-sHarep Fragment or Coun Ware (Sung Dy- 
nasty ) 
ee Sky-blue with splashes of red, green and purple. 


Carved frame of teakwood. 
Height, 10 inches; width, 8 inches. 


154—Two Fracments or Coun Ware (Sung Dynasty) 


One vase-shaped, the other oval. Sky-blue glaze, with 
splashes of red, green and purple. Carved frame of 


4 ‘—  teakwood. 


Heights, 12 inches and 714, inches. 


4 


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155—PracH-sHAPED FracMEeNT oF CHun Ware (Sung Dy- 
nasty ) 

Bas Sky-blue glaze, with tapering leaf-shaped splash of 

/ 7“ ved and purple. Carved frame of teakwood. 


Height, 1134 inches; width, 8 inches. 


156—Fan-suarep Fracment ‘or Coun Ware (Sung Dy- 
nasty ) 


Celadon glaze, with splash of sang-de-beuf. Carved 
viaete frame of teakwood. 
a in Height, 101%, inches; width, 91/4 inches. 


157—Twetve Fracments or Coun Ware (Sung Dynasty) 


Various sizes and shapes. Variegated glazes with 


[ _, brilliant splashes of red, brown, green and purple. In 
0 


two frames of teakwood. 


Height, 11 inches; width, 16 inches. 


158—Twetve Fracments or Coun Ware (Sung Dynasty) 


Similar to the preceding. 
ry 


159—Twetve Fracments or Coun Ware (Sung Dynasty) 
Similar to the preceding. 


ane (Illustrated) 


BRONZE 


Bronze vessels form the earliest attempt of the Chinese to express 
artistic conceptions. They are of great importance in the later devel- 
opment of art products as having been the original shapes copied ; 
in later materials, such as pottery and porcelain clay. The inscrip- b 
tions on bronzes are the earliest records of the ideographs from y 
which the written language of China and Japan has developed. These y 4 
inscriptions, cast into the surface of bronze vessels by means of wax 
matrices, were part of the artistic motive. They attempted to ex- 
press ideas not only accurately, but artistically. 

Bronze vessels were used on ceremonial occasions in the family, 
tribe and nation. Offerings of wine and food were presented in these 
vessels to ancestors and guardian spirits. The possession of the 
sacrificial bronze vessels of a principality denoted overlordship. The 
Great Yu (B.C. 2205-2197), Emperor of the Hsia Dynasty, is said 
to have cast nine tripods from bronze brought from each of the nine 
divisions of his Empire, and these were considered as symbols of his - 
imperial sway. . 

The composition of the bronze used in these vessels varies from 90 
per cent copper in the dark russet-brown specimens to 60 per cent 
copper in the dull-gray specimens which the Chinese describe as of 
mercurial—Shui-yin—color. The difference in the amount of alloy and 
in the quality of the soil in which they were buried accounts for the 
great variety in the color of the patina which covers the vessels. 


ee 


160—Smarit Bronze Lame (Tang Dynasty) 
a Saucer-shaped with side handle. On tall foot. 
i Height, 21, inches. 


161—Pair or Bronze Paper Weicuts (T'ang Dynasty) 
Seated tigers, engraved and showing traces of gilding. 


a Height, 3 inches. 
os ca erg enches 


Be SI 9 ERE eB Sh 


ten ner 
shee Ss 


ee Bronze VASE AND CYLINDRICAL Box 


| The former, T’ang Dynasty, with netted design and 
showing traces of gilding. The latter with green pa- 


tina. 
< Respective heights, 3%, inches and 31% inches. 


‘ee 
* 
i 
a 
— 


F vt 163—Two Bronze Axir-enps: Kane Tou (Han Dynasty) 
The former is richly decorated with thunder-scroll—_ 
lui wen—pattern. The latter is plain. Such beauti- 
ful axle-ends were probably only used on Imperial 
chariots. See “An Examination of Chinese Bronzes”’ 
in the Smithsonian Report, 1914. 


Respective heights, 2144 inches and 3 inches. 


164—Two Bronze Daccrrs (Han Dynasty) 


_, ,« With brown and greenish incrustations. 
/ a ye Length, 71% inches. 


165—Bronze Daccer (Chow Dynasty) 


J/g Showing green incrustations. 
Z Length, 81 inches. 


166—Bronze Musicat Rarrie: Wu Lao (Chow Dynasty) 


This was used in ceremonial dancing. It has a loose 

[ tongue which rattles when the instrument is shaken. 
¢* a r - 

—- See “An Examination of Chinese Bronzes” in the 


Smithsonian Report, 1914. 
Height, 6 inches. 


167—Bronze Cur: Cuin (Chow Dynasty) 
Red and green patina. The neck has a narrow band 
of thunder-scroll—lui wen. A covering of enamel 
““— has combined with the patina of the vessel to produce 
a brilliant black glaze, known to the Chinese as He- 
ch’i-ku. Vessels with this patina are especially prized. 
Height, 41/, inches. 


he 


4 
n 
~~] 

a 


No. 168 No. 170 No. 169 


168—Incense Burner: Hstane Lu (T’ang Dynasty) 


Antique green patina. With saucer-shaped base and 
/t~ 4+ pierced conical top with loose ring. 
Height, 41/, inches. 


169—IncENsE Burner: Hsiane Lu (T’ang Dynasty) 
Green patina. With saucer-shaped base and the cover 
/lL4£ of pierced design. 
Height, 4 inches. 


170—Incense Burner: Hstane Lu (Han Dynasty) 


Green patina. A graceful vessel with perforated cover 
pee and broad saucer for catching the overflow of incense 


ashes. 
Height, 61% inches. 


171—Smatt Bronze Betz: To (Han Dynasty) 
This has an inscription of “I Niu Yang,” meaning that 
/.)_ 6 it was used during the sacrifice of oxen—Niu, and 
~— sheep—Yang. On carved wood stand. 
Height, 41/, inches. 


~172—Bronze Miniature JAr 


CL . With incised spearhead and other decorations. Green 


patina. On three feet. * 
Height, 2%/, inches. 


173—BronzeE GirpLE Buckie (Chow Dynasty) 
Inlaid with gold and silver. Antique green patina. 
6 
a) > Length, %1/, inches. 


174—Bronze STEELYARD Wetcut (T'sin Dynasty) 
With lateral ridges, showing incrustations. Special 


3 ¢-— stand. 
Height, 21% inches. 


175—Sma.u Bronzrt Bett: To (Han Dynasty) 


This has an inscription of “I Niu Yang,” meaning 
/ / 9 that it was used during the sacrifice of oxen—Niu, 


and sheep—Yang. Wooden stand. | 
Height, 41%, inches. 


itv Sprar Hanpie: Coane Tou (Han Dynasty) 


| ‘ 
Plain. 
Length, 81% inches. 


sok 
177— Bronze Spear Hanpie: Cuane Tou (Chow Dy- 
z eae nasty ) 
Richly decorated contemporaneous inscription on in- 
ner side of top. Supported on wooden stand. See 
“An Examination of.Chinese Bronzes” in the Sa 


sonian Report, 1914. 
Length, 81/, inches. 


178—Bronze Pan: Tou (Han Dynasty) 
Cash pattern on bottom. Inscription on handle. For- 
é-««_  merly owned by Yuan Yuan, the distinguished arche- 
ine ologist. é 
Diameter, 5%/4 inches. % 


179—Bronze Pan: Tou (Five Dynasties) 


Decorated with pair of fish. With inscription on han- 
/( °—dle. 


Length, 534 inches. 


180—Bronze Wine Vessei: Cuovu (Chow Dynasty) 


Green patina, with incrustations. A small oval bowl 
with large ring handles. 


‘ae Height, 24%, inches; length, 51%, inches. 


181—Bronze Wine Cur: Fu Hsin Cum (Shang Dynasty) 


Green patina. A cup of early date with decoration of 
‘three raised bands at the narrowest part of the cup. 
A contemporaneous inscription of two characters, Fu 
Hsin, indicates the original ownership of this cup, 


Chih. 
Height, 6 inches. 


182—Bronze Haneine Bet: To (Han Dynasty ) 


Antique green patina. With rich decoration and a 
long handle, in which is a small ring to suspend the 
ee bell. The inscription is not decipherable. Wood 


stand. 
Height, 7/, inches. 


183—Bronze Lisation Cup: Cuion (Chow Dynasty) 


Antique green patina. ‘The decoration of the body is 
thunder scroll—lui wen. An animal-head surmounts 
aah *»_ the handle at the side. Above are two square-shaped 
lugs with tops, intended for suspension of the cup 
while pouring out wine. One of the three feet is slight- 


ly damaged. Carved wood stand. 
Height, 9 inches. 


184— Bronze Canpiesticxk: Tene (Han Dynasty) 
With gray and green incrustations. This small pricket 
candlestick has a top larger than the base. It has no 
decoration or inscription. See “An Examination of 
7 Chinese Bronzes” in the Smithsonian Report, 1914. 


e . ,. *. . . . 
= Height, 614, inches; diameter, 634 inches. 


185—Bronze Lization Cup: Coton (Chow Dynasty) 
Red and malachite green incrustations. The body is 
uf J ‘— decorated with thunder scroll—lui wen. The handle 
has animal-head decoration. ‘Two protruding lugs are 
intended for suspending the vessel while wine is poured 
from it on either side through different shaped lips. ¢ 
(Both of the projecting lips have been repaired.) § 


f Height, 8 inches. 


186—Bronzet Imace: Tsao Hsiane . 


= Buddha with two attendants. Dated 14th year of the : 
ries Sas Emperor K’ae Huang (594 A.D.). | 
Height, 12 inches. 


| 


187—Bronze SacririciaL VesseL: Counce Cut Ko (Chow 
Dynasty) 


The decoration of this vessel is, with perpendicular ribs 
and plain circular bands, divided into three sections. 
A contemporaneous inscription on the inside of the 
rim shows that this vessel, Ko, was presented to Chung 
Chi. Described in the Ch’i Ku Shih, VIII p. 1. 


Height, 414 inches. 


ieee 


188—Bronze Ewer: Hu Hsine I (Han Dynasty) 


- With green and gray incrustations. The shape of this 
. vessel is like the body of a tiger with the tail curled so 
2-2-sv 4s to form a handle, and with the mouth distended to 
~ form the spout. It has only three legs, and the body is 

not decorated. The ancient inscription is covered 

with incrustation. On a wooden stand. See “An Ex- 
amination of Chinese Bronzes” in the Smithsonian 


Report, 1914. 
Height, 31/ inches. 


/ 189—Bronze Grain VeEsseEv: Lien (Han Dynasty) 
Reddish bronze with green incrustations. Supported 
/)£ on three slender feet, the circular body of this vessel 
— is without decoration. Ring handles are attached to 
protruding animal-heads just under the thickened rim. 
Height, 9 inches. 


190—Bronze Laver: Po (Han Dynasty) 
This vessel has only the decoration of a narrow band 
) around the center and another near the rim, between 
aS which are two protruding animal-heads to which are 
attached ring handles. It probably had a cover which 
is now missing. Supported on wooden stand. 


Height, 6 inches; diameter, 81% inches. 


191—Bronze Breaker-sHAPED Vase: SHuH Ku (Chow Dy- 
nasty ) 

. Green and red patina, with rich decoration; the cen- 

ae ter of this graceful vase is divided into four sections 

by lateral raised band. An unusually beautiful patina 

covers the inner and outer surface of the mouth. See 

“An Examination of Chinese Bronzes” in the Smith- 


sonian Report, 1914. 
Height, 1114 inches. 


192—Bronze Laver: Po (Han Dynasty) 


With green incrustations. A narrow band of thun- 
14, ys der pattern—lui wen—surrounds the body of this ves- 
Cee sel. Above this band are two ring handles. The 
mouth spreads outward. Like vessels of this class, it 
is very light in weight. 


Height, 5 inches; diameter, 61%, inches. 


1938—Bronze Grain Measure: Liane (Han Dynasty) 


Green incrustations. Between the thickened rim and 
ot) ,- thickened base, a semicircular handle and’square socket 
~~ are attached. The socket is intended for the inser- 
tion of a wooden handle to be used in tipping the 
vessel. On the bottom, in rilievo, are the two char- 
acters Jih Li, meaning “daily prosperity.” 


Height, 31, inches; diameter, 8 inches. 


7) a — - : = ‘ — - 
f ip. Nady ie oo a ae ae ae ail ate 


194—Bronze SacririciaL VesseL: Ko (Han Dynasty) 


Reddish bronze, with greenish incrustations. The 

large bulging legs of this vessel distinguish vessels of < 
op di this class from tripods. The two upright handles are : 

very unusual in vessels of the Ko class, but are always 

found on tripods. The body has a heavy incrustation 

of rough patina on account of burial in damp, coarse : a 


soul. 
Height, 534 inches. 


195—Bronze Vesseu: Tine (Han Dynasty) 


pss 


With gray and green incrustations. Tripod support 
but not ornamented. It has two ring handles at the 
side, which do not extend above the rim of the ves- 
sel, as is usual in tripods. The flattened cover has 
three rings which serve as feet when it is inverted. 
The three long, slender legs combine with a flattened 
body and cover to give a peculiar shape to this vessel. 


Height, 5 inches; diameter, 61%, inches. 


196—Bronze Rance (Han Dynasty) 


z 2S? 


With green and earthy incrustations, the body in form 
of an animal, intended for mortuary use. Complete 
with necessary utensils. Wood stand. See “An Ex- 
amination of Chinese Bronzes” in the Smithsonian 


Report for 1914. 
Height, 51% inches; length, 814 inches. 


197—Bronze Vesset: Tine (Han Dynasty) 


Otte 


With antique green patina. Tripod support, with up- 
turned handles. ‘This is sometimes referred to as a 


oe Fu and not as a Ting, on account of the globular 


shape of the body when the cover is attached. The 
decoration of the body and cover is of the cloud scroll 
—yun wen—pattern. The long handles, short legs, 
thick body and protruding lipped top combine in form- 
ing a very graceful shape. 


Height, %1/, inches; diameter, 8 inches. 


198—Bronze Wine Vesset (Chow Dynasty) 


Malachite green patina. The decoration is distin- 


guished by grace and strength. The pattern of the 


LL 286 band below the rim, and also of that around the base 


of the vessel, is lui wen—thunder scroll. The body 


and the lower part of the handles have no decoration, 
the upper part of the handle being in the form of an 
animal-head. On carved wooden stand. 


Height, 514, inches; diameter, 7 inches. 


199—Bronze Wine Vessevt: Hstane Tsun (Han Dynasty) 
Green patina. The spout is shaped like the head and 
SOY ers proboscis of an elephant and the handle decorated 
with a simple pattern. ‘The vessel was used for pour- 
ing wine into libation cups on an-altar during sacri- 
ficial ceremonies. Such vessels had no covers. 
Height, 12 inches. 


TAT YO 


oe 


200—Bronze Wine Por: Yu (Han Dynasty) 
Antique green patina and incrustations. A carved 
handle is attached to the body of the vessel by three 


ey? 


/ y, Bw rings of a chain. A small, narrowband surrounds : 
the top of the cover, to which are attached three cs 
rings used as feet when the cover is inverted. The i 
vessel is supported by three carved feet. Inside the & 
cover and on the base of the vessel are inscriptions, 2 


ie) 


which are undecipherable on account of being covered 
with patina. Elaborate stand. 


Height, 7%, inches; diameter, 51% inches. 


201— Bronze Wine VessEv: Fu Tine (Chow Dynasty) 


Reddish brown patina. The decoration of the bands 
at the top and base of this vessel are in thunder scroll 
—lui wen—pattern, while the body of the vessel is 


eee plain. The handles terminate in animal-heads. The 


inscription was cast contemporaneously with the ves- 
sel and means that this vessel was intended to be used 
by Fu Ting. On carved wood stand. 


Height, 61, inches; diameter, 8 inches. 


202—BronzeE Wine Vessev: I Hu (Han Dynasty) 


The body tapers into a graceful neck, which widens 
into an outspreading mouth. Graceful in shape, with- 
J *—out decoration, but with a beautiful green patina. 


Height, 121% inehes. 


203—Bronze Wine VeEsseL (Chow Dynasty) 


Reddish bronze with malachite green incrustations. 
The plain body is encircled by a raised circular line, 
above which is a band decorated in thunder scroll— 
tT tui wen—pattern, with animal heads at the center 
on both sides. A similar band, but narrower, sur- 
rounds the center of the base. The handles have ani- 
mal-head decoration. No inscription. On carved 


wood stand. 
Height, 61, inches; diameter, 9 inches. 


204—BronzeE Sacrirician Prarrer: Fu (Chow Dynasty) 


With antique green incrustations. A platter with two 
handles and four spreading feet. The decoration on 
/ DQ “the under side is thunder scroll—lui wen—and the in- 
scription on the inside of the bottom of the vessel is 
covered with incrustation and patina. See “An Ex- 
amination of Chinese Bronzes” in the Smithsonian Re- 


port for 1914, plate VIII. 
Length, 1114 inches; width, 934 inches. 


205——Bronze Wine VessEL: Hu (Han Dynasty) 


Jar-shaped of yellowish bronze, with green and red pa- 
£9 64 tina and decorated with three plain bands. Ring han- 
dles are attached through a protruding decoration in 
the form of an animal-head. No inscription. On a 
wooden stand. 
Height, 12 inches. 


206—Bronze Wine Vesset: Tun (Chow Dynasty) 


With three feet, an unusual pattern. Plain ribs sur- 
round the center of the vessel and about the top and 

/ [hae base are bands of conventional design. The handles 
at the side are massive. The tops of the legs and 
handles are animal heads. Probably it originally had 
a cover, but this is now missing. 


Height, 7 inches; diameter, 9 inches. 


207—-Bronze Wine Por: Yu (Han Dynasty) 


Green patina, with decorations of a netted design to 
imitate knotted cord on the body, while the top and 
base are plain. A handle is attached to the top of 
OC °< the vessel by three sections of a chain. The cover is 
attached to one of chains by two links, so that when 
the vessel was inverted to pour out heated wine the 
cover would not fall to the ground. 
Height, 11%, inches. 


208—Bronze Wine VeEsseEv: Let (Chow Dynasty) 
Green patina. This is of unusual shape. The body is 


sates : ; ip 3 
— , - , . “ 
Sam (ay ee! ee, Re ea ae 
Paste a, A 7h 

bs —— oe Le iis nes - 


Nees decorated with a conventional p’an k’uet, or coiled pin- = 
/ ——— niped pattern. There is also a conventional band 
around the base of the vessel, but between this band and & 


7 
yl a 
. et 


the body decoration and between the body decoration 
and the rim there are plain unornamented spaces. 
Three square holes in the base indicate that they were 
left for the purpose of attaching some means of carry- 
ing the vessel. On wooden stand. 


Height, 7 inches; diameter, 10 inches. 


)0 


- 


209—BronzE Wine Vesset: Tun (Chow Dynasty) 


Oe 


— 


Reddish brown and green patina. <A wide band of 
cloud pattern surrounds the top of this vessel. Near 
the rim and out from the band spring the graceful 
handles which are decorated and surmounted by ani- 
mal-heads. The tripod supports are also richly 
carved with t’ao t’ieh, ogre pattern, and a wooden 
cover has been provided for it, which latter is deco- 
rated as the original cover probably was. On wooden 
stand. 


Height, 7 inches; diameter, 10 inches. 


210—BronzeE VesseL: Tine (Chow Dynasty) 


emai 


With green patina and earthy incrustations. ‘Tripod 
support, with narrow band of p’an k’uet, or coiled pin- 
niped pattern, just under the rim. The body of the 
vessel is without decoration. Wooden cover with jade 


handle. 


Height, 10 inches; diameter, 9 inches. 


211—BronzeE SacririciaL VessEL: Tine (Chow Dynasty) 


pr 


With antique green patina and incrustations. Tri- 
pod supports and upturned looped handles. Melon- 
shaped; flattened cover with three rings; which latter 
serve as feet when the cover is removed and inverted. 
The decoration is of the p’an k’uet, or coiled pinniped 
pattern. Carved wood stand. 


Height, 9 inches; diameter, 10 inches. 


212—Bronze Vesset: Tine (Chow Dynasty) 


ore 


Tripod support. The body is richly ornamented with 
a conventional pattern. Through burial in damp 
earth, some of the metal has eroded and the decora- 
tion is almost lost to sight through the thick cover- 
ing of malachite green patina and earthy substances. 
There are traces of an inscription on the inside of the 
bottom, but the thick covering makes it undecipher- 
able. 


Height, 10 inches; diameter, 81% inches. 


213—Bronze Wine Vesset: Hu (Han Dynasty) 


Shia 


Reddish bronze with green patina and incrustations. 
Pear-shaped body with four flat encircling bands, and 
monster head and loose ring handles. Beneath the 


base in rilievo are cast four characters, Jih Ju Pa 


Ch’ien: “One day like eight thousand.” 
Height, 141% inches. 


. 214—Bronze Wine Vessext (Chow Dynasty) 


Fg 


Green and reddish brown patina. A fine example 
of dignified, attractive workmanship. The body is 
ribbed, and above and below are bands of t’ao t’ieh, 
or ogre pattern, in which are medallions with conven- 
tional designs. In center of the upper band on both 
sides of the vessel are animal-heads. The large han- 
dles have also a decoration of animal-heads, beneath 
which are conventional scrolls. ‘The inscription is un- 
decipherable. On carved wood stand. 


Height, 634 inches; diameter, 9 inches. 


215—Bronze Laver: Po (Chow Dynasty) 


With green patina and incrustations. ‘Two raised 
bands around the center are surmounted by a broad 
design of thunder pattern. A band around the base 
is divided into two sections by conventional animal- 
heads. The two handles, which spring from the rim, 
curve outward in graceful lines. On wooden stand. 


Ds 


Height, 91%, inches; diameter, 12%, inches. 


216—Bronze Laver: Hs1 (Chow Dynasty) 


ge 


Green patina. Bands of conventional pattern sur- 
round the base of the body of this beautifully shaped 
vessel. Above the bands is a figure resembling a flying 
pheenix, on either side of which are decorations which 
suggest early forms of written characters. Two ring 
handles are attached to the side of the body and the 
rim spreads outward with a beautiful curve. 


Height, 11 inches; diameter, 15 inches. 


217—Bronze Vesset: San Hs: Tine (Han Dynasty) 


Fu’ 


With bluish green patina. Globular body with tripod 
support and upturned handles. The cover is miss- 
ing but has been replaced with a wooden one in order 
to show its original pattern of san-hsi, or three sacri- 


ficial animals. 
Height, 8 inches; diameter, 1114 inches. 


218—Bronze Sacririciat VesseL: Tzu Tine (Shang Dy- 


oé 
on 


nasty ) 
With green patina. Tripod support. The band 
around the top of the vessel has a pattern of cicadas 
on either side of a centerpiece, and the decoration on 
the body is leaf-shaped and very unusual. An inscrip- 
tion on the inside of the bottom was made in the cast- 
ing. It is the character “tzu,” meaning son, indicat- 
ing that this vessel was presented by a son to his 
father. Referred to in the Hsi Ch’ing Ku Chien, “the 
Record of the Imperial Bronze Collection of the Man- 


chu Dynasty.” 
Height, 1314 inches; diameter, 11 inches. 


219—Bronze Beit: Tat Mou Cuune (Shang Dynasty) 


CD ee 


With antique green patina and incrustations. This 
bell is richly decorated. The protruding nipples de- 
termined the tone of the bell. Part of the double hydra 
decoration on the top is missing and has been sup- 
plied by carving in wood. An inscription on the face 
indicates that this bell was cast in the T’ai Mou period 
(B.C. 1637). Previous to the deciphering of this 
inscription, it had been supposed to belong to the Chow 
Dynasty. Supported by wooden stand. See “An 
Examination of Chinese Bronzes” in the Smithsonian 


Report for 1914, plate XI. 


Height, 101, inches; diameter, 714, inches. 


220—Bronze Wine Por: Yu (Han Dynasty) 


Green and red patina. With cover attached by two 
rings to a chain handle. This vessel is usually spoken 
of as tt liang yu, that is, a yu with a handle. Three 
rings will be seen at the base of the body. These 
were used for inverting the vessel when pouring out 
wine. The handle was used for suspending the ves- 
sel while wine was being heated. Elaborate stand. 


Height, 15 inches; diameter, 81 inches. 


221—Bronze WINE Cooter: Hsien (Han Dynasty) 


With green and red patina. ‘The heads of animals of 
fierce mien surmount the three legs of the base, on 
which the body of this vessel rests. Two plain up- 
right handles spring from the rim, beneath which is 
a band of cloud pattern, yun wen. In the bottom of 
the vessel is an adjustable screen, used for separat- 
ing the ice or fire from wine cups which might be 
placed in this vessel for heating or cooling. See “An 
Examination of Chinese Bronzes” in the Smithsonian 


Report for 1914, plate X. 


Height, 18 inches; diameter, 111% inches. 


4 


az 


BON att ( 


' 
- 


’ Die ow, . 
ike. Meads f yore 


basal, 3 


ig apy | 


i, 
} 
ya 


CS a ear eos 


222—Bronze Wine Jar: T’ar Soin Tsun (Han Dynasty) 


Yan 


Green and reddish incrustations. This large jar was 
used as a receptacle for wine at the time of lengthy 
sacrificial ceremonies in the Imperial Temple. It has 
no ornamentation, is square in shape, very heavy, and 
has four handles. An inscription on the inside of the 
bottom was incised at a later date, and is a partial 
copy of one well known as belonging to the Chow Dy- 


nasty. 
Height, 1314 inches; diameter, 14 inches. 


223—Bronze Laver: Hs1 (Han Dynasty) 
Green patina with malachite incrustations. With 
Ve 9) ¢+ raised band about the center of the vessel interrupted 
by two grotesque bird heads in low relief. Inscription 
on the inside and wide mouth. 


Height, 81, inches; diameter, 171% inches. 


224—Bronze Laver: Hs1 (Han Dynasty) 
With grayish green patina. With an inscription of 
five characters, indicating that it was cast in the reign 
,, of the Emperor Yung Yiian (89-105 A.D.). 


"4 Height, 91, inches; diameter, 1 foot 51% inches. 


3 


4 
\ 
-, 
i 
iy 
s 
¢ ‘ 
= _ 
4 
a 
ty 
oe 


‘ 

E 225—BronzE Beti: Cuun (Han Dynasty) 

x Green patina, with earthy incrustations. The body 
f 47 “of this bell is without decoration. On the top is a re- 
. cumbent tiger. 

= Height, 20 inches; diameter, 12 inches. 
| 

a. 


PAINTING 


Drawing and designs are earlier than the manufacture of the brush 
and of ink, but painting in the sense in which this word is now used 
dates from the introduction of these two media, about the beginning 
of the Christian Era. Since that time there has been a constant out- 
put of paintings, but existing specimens only carry us back to the seventh 
and eighth centuries, A.D., or even possibly in copies back to the fourth 
century. The most brilliant epoch of Chinese painting was the T’ang 
Dynasty (618-907 A. D.), and the most productive period that of the 
Northern (960-1127 A. D.) and Southern (1127-1280 A. D.) Sung. 
The short-lived Yiian Dynasty of the Mongols (1280-1368 A. D.) sought 
to revive the style of the T’ang artists, but the succeeding Ming Dynasty 
(1368-1644 A. D.) artists were content to copy after the style of the 
Sung Dynasty. 

Landscape painting and figure painting are the earliest divisions. 
The luxury of the 'T’ang Dynasty brought about the painting of flowers, 
palace scenes, and birds. The rapid spread of Buddhism in this period 
also introduced the painting of religious subjects. 

Silk fabrics carefully sized and thick paper were used for paintings, 
and these were favorable materials to be written upon and also for the 
impression of seals. On many pictures the subject and name of the 
artist are written, sometimes by the artist himself, and at other times 
by later admirers. The seals of collectors who owned pictures are also 
frequently impressed on the surface of paintings, and help in identifying 
the genuineness of specimens. 


226—Puvuckine LorusEs 
Scroll on silk. In the style of Chao Ta-nien, about 
1100 A.D. of the Sung Dynasty. Ming Dynasty 
Le v+_ reproduction. ‘This is a striking treatment of a lotus 
garden. On one side is seen Yuan Ti Emperor of the 
Liang Dynasty, with his attendants, sitting in a pa- 
vilion looking out over a lotus pond. At the back of 
the series of pavilions are some splendid trees and 
rocks. The small punts in the water are moving hither 
and thither, while their fair occupants pluck beautiful 
lotuses. On the opposite side are horsemen passing 
along a road which skirts the edge of the pond. The 
artist was noted for his virile treatment of subjects, 
and this scroll is a good illustration of this quality. 
Height, 1014, inches; length, 4 feet 1 inch. 


1006-506 


RAI AT DAR ALOT TENS. 


'300-S0.5~ 


ee 
~ 


a 


227—MeritTorious STATESMEN 


Scroll on silk. By an artist of the Yuan Dynasty. 
The twenty-four statesmen of the second Emperor, 
T’ai Tsung, of the T’ang Dynasty, A.D. 597-649, are 
here pictured. These are the men who helped him 
and his father in establishing themselves on the throne. 
The Emperor built a pavilion, Lin Yen Koh, in which 
he placed the portraits of these meritorious statesmen. 
The names of these men and their deeds are carefully 
recorded. 

Height, 1114 inches; length, 18 feet 11 inches. 


228—PortTrY AND WINE IN THE LAN Tine PAvILion 


Vio 


~s 


Scroll on silk. By Tang Ying, about A.D. 1525 of 
the Ming Dynasty. The artist here portrays a well- 
known scene in distinguished littérateurs gathered on 
the third day of the third moon, San Shan, to write 
poems and to refresh themselves with wine. The men 
may be seen in various parts of the garden, through 
which a stream of water runs. A large jar of wine 
is seen on the edge of the stream, and from this, wine 
is dipped out into large cups which are sent floating 
down the current. Whoever is favored by the stop- 
ping of one of these cups in front of him must drain 
its contents. 

Height, 11% inches; length, 17 feet 7 inches. 


229—Trr Four GRAYBEARDS 


bg 


Scroll on silk. By an artist of the early part of the 
Ming Dynasty. These four statesmen, Tung Yuan 
Kung, I Li Chi, Hsia Huang Kung and Lu Li, retired 
from public life and lived in the hills as recluses. At 
the close of his reign the first Emperor of the Han 
Dynasty, about 212 B.C. was greatly concerned about 
the future of the Empire. He desired to surround his 
son with trusty advisers and remembered these four 
men. He sent a faithful messenger to persuade them 


/4/00 -SOf 


| 14 60-504 


to come to Court, and the arrival of this messenger 
in the mountain retreat is the subject of this picture. 
The messenger is clothed in a bright red garment and 
carries in his hand a jade tablet, kung pi, showing his 
Imperial authority. He finds the old men amusing 
themselves with music and conversation. They con- 
sented to go to Court, and on arrival were treated 
as honored guests. After a lengthy interview, the 
Emperor commended them to his son, the Heir Appar- 
ent, as faithful counselors upon whom he could rely 
after his death. The figure of the musician playing 
on the Ch’ing, a kind of harp, may be noted as show- 
ing fine drawing of drapery in nervous line and color 


wash. 
Height, 1 foot % inch; length, 3 feet 5 inches. 


230—Mao TiexH 

Scroll on silk. By Ma K’uei of the Sung Dynasty 

‘e and older brother of Ma Yiian, about 1200 A.D. The 
AR rs two words “Mao Tieh” literally mean octogenarian; 
but words of similar sound mean cats- and butter- 

flies. This method of using phonetic tropes is very 
common in the Chinese language, and was intended in 

this instance to add dignity to the work of the artist. 

.The charm of this picture is in the mellow color and 

the intimate treatment of flowering plant life. The 
masterly arrangement of the numerous groups of en- 
tirely different subjects on undulating ground which 

form a relief to the main subject, cats and butterflies, 

is manifest as the picture is unrolled in segments. The 
Chinese kittens form a playful study; the foreshort- 
ening of the face of the cats looking upwards is ap- 
parently wrong, but it appears to be the practice 

of all Chinese artists to draw only from the frontal 
point of view. The rose-bushes and the groups of 
violets are most refreshing. : 


Height, 1 foot; length, 9 feet 2 inches. 


| 231—A Sxetrcu or Puant anv Insecr Lire 
Scroll on silk. By an artist of the Sung Dynasty. 
Flowers, plants, vegetables and butterflies are col- 
vA / 0 * lected by the artist in a charming fancy sketch, which 
is full of vitality. 
Height, 111% inches; length, 5 feet 3 inches. 


232—LANDSCAPE 


Kakemono. By Kuan Chiu-ssu. This landscape is 
painted on white paper, and is dated the summer of 
,, 1868. The artist, Kuan, lived at the close of the 
i an Yuan Dynasty and the beginning of the Ming. His 
work was highly prized by the Emperor Ch’ien Lung, 
in whose Imperial Collection this picture was treas- 
ured. It was bestowed by the Emperor upon Prince 
K’ung and is an excellent example of Yuan Dynasty 
landscape painting. 
. Height, 4 feet 101% inches; width, 1 foot 31% inches. 


233—Turee Srupres or Earty Masrers sy Moprern 
PaInTERS 
One is a white bird; another, chrysanthemum; and the 
no. third, fungus lily. Teakwood frames. 


Heights, 91/, inches; widths, 6%, inches. 


234—Onr or Genut Ripine a Lorvus 
This is a familiar tale from Buddhistic lore. <A saint 
3 0 ‘x _crosses the water on a lotus leaf, bent on a mission 
of mercy to a suffering world. ‘Teakwood frame. 


Height, 7%, inches; width, 8 inches. 


235—Unper THE Pines (Ming Dynasty) 
A scholar, wandering in the hills attended by a young 
Lf @ *— servant, stands at the side of a rushing stream listen- 
ing to its murmuring. ‘Teakwood frame. 
Height, 8°, inches; width, 8% inches. 


(700-78) 
/706-7Ct) 
1700-7 C?) 


7 00-f 


/4o0o-¢ 


236—Pumpinc WatTER 


Fan-shaped. Two farmers are busily working on the 
revolving axis of a chain pump under the shade of — 
an overhanging tree. The water is being pumped on \7 AD. 
é V‘ the fields from an irrigation canal, along the side of a 
which is a path with a woman approaching. In the 
distance is a mist-covered hill. Teakwood frame. 


Height, 714 inches; width, 10% inches. 


237—Birps anp Frowers (Yuan Dynasty) 
A bird has just alighted on the branch of a flower- 
G — ing shrub, and has not come to an upright position. 
The name of the artist is not known. ‘Teakwood 


frame. 
Height, 9, inches; width, 11% inches. 


238—Birps anp Fiowers (Ch’ing Dynasty) 


Nineteenth century. A pretty sketch in the style of 
Wang Yuan. Teakwood frame. 


( oe Height, 11 inches; width, 11 inches. 
—_—— 


239—A TurusH (Yuan Dynasty) 


By Chang Shou-chung. This picture is signed by e; 

/ / +s the artist and dated the seventh month of the third / 300~ LY 
year of the reign of the Emperor Chi Chen (A.D. 
1343). A thrush stands on the branch of a moun- 
tain camellia. The writing on the upper right-hand 
corner is a poem describing the beauty of birds among 
flowers. The artist is a well-known painter of flower 
scenes and bird life. Teakwood frame. 


Height, 1114 inches; width, 14 inches. 


240—LANDSCAPE 


[AO 


An artist’s sketch in the style of the noted landscapist, 


Fan K’uan, an example of whose work may be seen 


in the Metropolitan Museum. The name of Fan 
K’uan has been written on the picture to indicate that 
it is in his style. Three seals show that it was for- 
merly owned by the Ku and Wang families. Teak- 


wood frame. 
Height, 1 foot 11% inches; width, 1 foot. 


241—-LanDSCAPE 


ja 


In the style of the priest, Hui Tsung. This artist’s 
sketch is designed to exhibit the style of Hui Tsung, 
and the name of this distinguished artist is given on 
the picture to show that it is in his style. It was 
formerly owned by the Ku family. Teakwood frame. 


Height, 1 foot 11% inches; width, 1 foot. 


242—A Buppuist Saint (Sung Dynasty) 


{TO 


By Li Fan, twelfth century. This painting of a Lohan 
by Li Fan, a noted painter of the Sung Dynasty, com- 
bines great strength of line with delicate coloring. 


Teakwood frame. 
: Height, 1 foot 9 inches; width, 1 foot. 


243—Five Worruies (Sung Dynasty) 


poe 


On silk. An interesting group of five eminent men, 
four of whom have typical Chinese faces, while the 
fifth, the upper figure in the middle of the picture, has 
a Tartar type of countenance. This would suggest 
that the time of the picture was the latter part of the 
Sung Dynasty, when the Tartars founded the foreign 
dynasty of Chin in the northern part of China. The 
dignity of posture lends strength to the lines of their 
flowing garments. Teakwood frame. 

Height, 1 foot 7 inches; width, 1 foot 1 inch. 


(00-224) 


lp00-25° 


244—WiInTER ‘TREES 

By an artist of the Ming Dynasty. A farm-house i 
in the midst of barren trees at the foot of hills has a a 
narrow road passing in front of the entrance. Along 
/A 2% the road passes a mounted traveler attended by a 146 D “ 
donkey driver. The picture is very dark, and sug- : 

gests the dull days of winter. Teakwood frame. 

Height, 1 foot 9 inches; wdith, 1 foot th chee 


3 a ‘ ; 


245—Dremon (Sung Dynasty) 
By Ssu Ma K’uei. The mythological ogre who causes 
nightmare was called Chin P’an (Khumbhanda). He Af 
“s 7 is represented in this picture as offering a sacrifice of | 000 ie 
—— dew. The four characters on the upper right-hand | : 
corner are Chin P’an Hsien Lu, and they are written ~ 
in the seal characters. Teakwood frame. | 
Height, 2 feet; width, 1 foot 7 inches. 


246—Dremon (Sung Dynasty) 
By Ssu Ma K’uei. The four characters on the up- 
per right-hand corner are Chia Kuan Chin Chio, and 
// jj ‘+ mean “The capping of a young nobleman.” The art- 
ist was a famous painter of mythological characters 
and Buddhistic saints. 
Height, 2 feet; width, 1 foot 7 inches. 


247—Tur OLp Man or tHE SourHern Pore 

By Ling Mei of the Ching Dynasty, early eighteenth 
(Ghee century. The Old Man of the Southern Pole-nan-chi- 
lao-jen, is symbolic of longevity. Accompanied by a | 
friend and servant, he is sending up an offering of \760-] 5 
flowery incense to the gods. From a projecting rock 

juts out a pine tree, from the roots of which flowers 

are growing. The elation of the Old Man is seen on 

his countenance. It is an excellent example of mod- 
ern Chinese painting. | 
Height, 3 feet 4 inches; width, 1 foot 10 inches. 


oar 


S| 
4 


249 


. 


No 


248—A Fatcon 


By an artist of the Ming Dynasty. This picture on 
thick paper represents a falcon standing on the branch | 
of a pine tree with head turned to watch its prey. 
The clusters of pine branches at the top and the 
lower left-hand corner, together with the portion of the 
trunk of the tree, form a beautiful background. The 
picture is drawn with black Chinese writing ink. There 
are no seals nor signature. 

Height, 2 foot 111% inches; width, 2 feet 1 inch. 


249—A LanpscaPE 


By Shen Mou of the Yuan Dynasty, thirteenth cen- 
tury. The artist was a well-known artist of the Yuan 


/ y t) Dynasty, specimens of whose work are rare. He has 


signed this picture on the lower left-hand corner with 
the four Chinese characters Wu T’ang Shen Mou, 
i.e., “Shen Mou of the district of Wu T’ang.” This 
was the birthplace of the artist, and it is a scene from 
this part of China which is depicted in the picture. 
Tall rocky cliffs, from which grow pine trees, are the 
home of a pretty cluster of pavilions where friends 
are gathering to find a cool place on a hot summer’s 
day. Teakwood frame. 

Height, 3 feet 8 inches; width, 2 feet. 


(Illustrated) 


250—Avutumn Hits 


30" 


In the style of Ma Yuan and Hsia Kuei by an artist 
of the Ming Dynasty, sixteenth century. <A beauti- 
ful, delicate interpretation of the changing colors of 
the trees in the early autumn. The bold rocky cliffs, 
on the borders of a lake on which a sailing boat is 
leaving the low-lying shore with the distant hills fad- 
ing away into the shadows, present a charming land- 
scape. The name of the artist is not known, but the 
style is that of the Ming Dynasty artists, who were 
fond of repainting the scenes made famous by the 
earlier artists of the Sung Dynasty. 

Height, 5 feet 2% inches; width, 1 foot 9 inches. 


251 


No. 


251—WiInTER TRAVELERS 
Painting on silk by Ma Ho-chi, A.D. 1150, Sung Dy- 
nasty. The signature of the artist is on the left- 
hand edge of the picture. The artist was a native 
_,, of Hangchow, and in the painting of figures imitated 
ve — the style of Wu Tao-tzu. He flourished during the 
reigns of the first two Emperors of the Southern Sung 
Dynasty (1127-1174), from whom he received many 
marks of Imperial favor. An old man, seated on a 
donkey and attended by his servant, is traveling along 
a wind-swept road in winter. By the side of the road 
lies a fallen tree. Through the trees is seen the 
top of a roof under which the travelers hope to find 
shelter. Teakwood frame. 


Height, 3 feet 9 inches; width, 1 foot 91% inches. 
(Illustrated) 


252—Nine Ecrets (Five Dynasties) | 
| Painting on silk. The harmony of the coloring of 
i the white birds and flowers with the soft green of the 
70 ’“. leaves is delightful. The positions of the egrets— 
flying, standing and at rest—are full of hfe. Har- 
mony as of a rhythmic cadence is combined with the 
energy of life. The name of the artist is not known, 
but the coloring and silk, together with the design, 
point to the period of the Five Dynasties. ‘Teakwood 
frame. 
Height, 5 feet 3 inches; width, 3 feet 114 inches. 


AMERICAN ART ASSOCIATION, 
MANAGERS. 
THOMAS E. KIRBY, 


AUCTIONEER. 


FOR INHERITANCE TAX 


AND OTHER PURPOSES 


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